Want more images or videos?
Request additional images or videos from the seller
1 of 8
John MarinCANAL BRIDGE AMSTERDAM1906
1906
About the Item
JOHN MARIN (1872 -1953)
CANAL BRIDGE AMSTERDAM, 1906 (Zigrosser 13 i/ii)
Etching, drypoint and plate tone. A PROOF IMPRESSION of the 1st state, Annotated: “APPROVED MARIN”. Image 6 x 7 ½” Published edition of 30. A fine impression with considerable delicate wiping. This striking composition anticipates Marin’s modernist design in subsequent years. Arguably his most accomplished early European composition. Clearly shows the influence of Whistler. FULL but irregular deckled margins. Small printers crease lower right plate edge into image. $6,950
- Creator:John Marin (1870-1953, American)
- Creation Year:1906
- Dimensions:Height: 6 in (15.24 cm)Width: 7.5 in (19.05 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Santa Monica, CA
- Reference Number:1stDibs: LU41132409843
John Marin
John Marin was born in Rutherford, New Jersey in 1870. His father was a public accountant; his mother died nine days after his birth. He was taken to his maternal grandparents with whom he lived in Weehawken, New Jersey. His grandparents, with their son and two daughters were the only parents Marin was to know; it has been suggested that his father seems to have ignored him. As a child of seven or eight Marin began to sketch and when he was a teenager he had completed his earliest watercolors. His education in the schools of New Jersey was interspersed with summers of hunting, fishing and sketching; he traveled in the Catskills, and as far away as Wisconsin and Minnesota. But formal training was almost incidental to his development as an artist. He is to America what Paul Cezanne was to France - an innovator who helped to oppose the influence of the narrative painters, the illustrators who were more interested in subject than form, in surface than substance. Marin brought to his work a combination of values which, at the turn of the century, was unique in this country: an aliveness of touch, colors that have both sparkle and solidity, and forms that are vibrant with an energy characteristic of our age. Marin established himself as a practicing architect. In the early 1890s, he worked for four architects and by 1893 had designed six houses in Union Hill, New Jersey. At the age of twenty-eight, he decided to become a professional artist and studied briefly at the Pennsylvania Academy of Fine Arts in Philadelphia and the Art Students League in New York City. As a watercolorist he had no equal. He used this fluid, spontaneous medium to abstract from objects - skyscrapers, boats, mountains and seas - a simplified anatomy of color and form and to define the pulsation of stresses and movements in the relationship of objects. It was a great disappointment, all his life, that his oil paintings did not achieve the popularity that his watercolors did. From 1905 to 1910 he worked in Europe, where he was influenced by Whistler's watercolors. It was Alfred Stieglitz, Marin's lifetime friend and dealer, whose firm faith in his genius made his position in the art world possible. He developed a distinctive style that he used most characteristically in powerful watercolors of the Maine coast. During the 1920s he provided the dominant force in the movement away from naturalistic representation towards an art of expressive semi-abstraction. He married Marie Jane Hughes after he returned to New York. They had one son, who grew up to run his father's considerable affairs. Marin continued to work at the same steady fast pace as long as he lived. Since 1908 he had produced 1700 paintings, an average of forty a year. He had made the frames for them as well. At the age of seventy-nine, he began to taper off from the days when he painted one hundred watercolors in a summer. He died in 1953.
About the Seller
5.0
Recognized Seller
These prestigious sellers are industry leaders and represent the highest echelon for item quality and design.
Gold Seller
Premium sellers maintaining a 4.3+ rating and 24-hour response times
Established in 1977
1stDibs seller since 2016
284 sales on 1stDibs
Typical response time: 2 hours
Associations
International Fine Print Dealers Association
- ShippingRetrieving quote...Shipping from: Santa Monica, CA
- Return Policy
Authenticity Guarantee
In the unlikely event there’s an issue with an item’s authenticity, contact us within 1 year for a full refund. DetailsMoney-Back Guarantee
If your item is not as described, is damaged in transit, or does not arrive, contact us within 7 days for a full refund. Details24-Hour Cancellation
You have a 24-hour grace period in which to reconsider your purchase, with no questions asked.Vetted Professional Sellers
Our world-class sellers must adhere to strict standards for service and quality, maintaining the integrity of our listings.Price-Match Guarantee
If you find that a seller listed the same item for a lower price elsewhere, we’ll match it.Trusted Global Delivery
Our best-in-class carrier network provides specialized shipping options worldwide, including custom delivery.More From This Seller
View All(HUNTERS WITH REFLECTIONS) - RICH IMPRESSION
By Levon West
Located in Santa Monica, CA
LEVON WEST (1900 - 1968)
(Untitled) - HUNTERS with REFLECTIONS. ca 1925
Etching, signed and numbered 22, lower left. Plate, 13 1/2 x 10 1/2 inches. Sheet 15 3/4 x 11 3/4 inches. ...
Category
1920s American Impressionist Landscape Prints
Materials
Etching
$600 Sale Price
29% Off
New Fish Market - NEW YORK
By Joseph Pennell
Located in Santa Monica, CA
JOSEPH PENNELL (1857 - 1926)
NEW FISH MARKET - (NEW YORK) 1921 (W 797)
Etching, Signed in pencil, edition probably 50. 9 7/8 x 6 7/8 inches. Full sheet, ...
Category
1920s American Impressionist Landscape Prints
Materials
Etching
$375 Sale Price
40% Off
UP TO THE WOOLWORTH
By Joseph Pennell
Located in Santa Monica, CA
JOSEPH PENNELL (1857- 1926)
UP TO THE WOOLWORTH 1915 (Wuerth 673)
Etching, signed in pencil. Early state before additional work, especially before extensive darkening in the sky. I...
Category
1910s American Impressionist Landscape Prints
Materials
Etching
FLOWERS - Exhibited in 1997 Smithsonian Monotype Exhibition
By Karl Yens
Located in Santa Monica, CA
KARL YENS (1868 – 1945)
(FLOWERS) 1919
Color monotype signed, dated and annotated: “monotype 1919.” 17 ½” x 11 ½”
Monotypes are unique works of art that fall between printmaking a...
Category
1810s American Impressionist Landscape Drawings and Watercolors
Materials
Monotype
$1,200 Sale Price
20% Off
SEA TREASURES
By Frances H. Gearhart
Located in Santa Monica, CA
FRANCES H. GEARHART and Sisters (THE GEARHARTS)
SEA TREASURES...
Category
1920s American Impressionist Landscape Prints
Materials
Woodcut
$1,100 Sale Price
43% Off
DESERT BARRIER
By Frances H. Gearhart
Located in Santa Monica, CA
FRANCES H. GEARHART (1869-1958)
DESERT BARRIER c. 1933
Color block print, unsigned 12 x 9 ¼”. Typical original margins on good fibrous japan paper. Many very good impressions by G...
Category
1930s American Impressionist Landscape Prints
Materials
Woodcut
$4,250 Sale Price
41% Off
You May Also Like
Arch Beach, California
Located in San Francisco, CA
This artwork titled "Arch Beach, California" c.1910 is an original etching on Wove paper by American artist Harley DeWitt Nichols, 1859-1939. It is hand signed and titled in pencil by the artist. The plate mark (image) size is 6.5 x 9.5 inches, framed size is 13 x 17 inches. it is custom framed in a wooden silver frame, with off white matting. It is in excellent condition, especially considering the age.
About the artist:
Born in the small rural Wisconsin town of Barton, Harley lived a peripatetic life. As a young child, he accompanied his family to Lincoln, Nebraska where he found great excitement in the roaming herds of buffalo and Native Americans. It was in these years that a talent for drawing was discovered. In 1870, after several years of hardship, his father moved the family back to Wisconsin.
At the age of 11 he became a water boy...
Category
Early 20th Century American Impressionist Landscape Prints
Materials
Etching
"Old Barney"
By Daniel Garber
Located in Lambertville, NJ
Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958).
One of the two most important and, so far, the most valuable of the New Hope Sc...
Category
Mid-20th Century American Impressionist Landscape Prints
Materials
Etching
"Improvidence"
By Daniel Garber
Located in Lambertville, NJ
Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958).
One of the two most important and, so far, the most valuable of the New Hope Sc...
Category
1920s American Impressionist Landscape Prints
Materials
Etching
"Birmingham Meeting House"
By Daniel Garber
Located in Lambertville, NJ
Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958).
One of the two most important and, so far, the most valuable of the New Hope Sc...
Category
1930s American Impressionist Landscape Prints
Materials
Etching
"Spring Valley Willows"
By Daniel Garber
Located in Lambertville, NJ
Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958).
One of the two most important and, so far, the most valuable of the New Hope School Painters, Daniel Garber was born on April 11, 1880, in North Manchester, Indiana. At the age of seventeen, he studied at the Art Academy of Cincinnati with Vincent Nowottny. Moving to Philadelphia in 1899, he first attended classes at the "Darby School," near Fort Washington; a summer school run by Academy instructors Anshutz and Breckenridge. Later that year, he enrolled at the Pennsylvania Academy of the Fine Arts. His instructors at the Academy included Thomas Anshutz, William Merritt Chase and Cecilia Beaux. There Garber met fellow artist Mary Franklin while she was posing as a model for the portrait class of Hugh Breckenridge. After a two year courtship, Garber married Mary Franklin on June 21, 1901.
In May 1905, Garber was awarded the William Emlen Cresson Scholarship from the Pennsylvania Academy, which enabled him to spend two years for independent studies in England, Italy and France. He painted frequently while in Europe, creating a powerful body of colorful impressionist landscapes depicting various rural villages and farms scenes; exhibiting several of these works in the Paris Salon.
Upon his return, Garber began to teach Life and Antique Drawing classes at the Philadelphia School of Design for Women in 1907. In the summer of that same year, Garber and family settled in Lumbertville, Pennsylvania, a small town just north of New Hope. Their new home would come to be known as the "Cuttalossa," named after the creek which occupied part of the land. The family would divide the year, living six months in Philadelphia at the Green Street townhouse while he taught, and the rest of the time in Lambertville. Soon Garber’s career would take off as he began to receive a multitude of prestigious awards for his masterful Pennsylvania landscapes. During the fall of 1909, he was offered a position to teach at the Pennsylvania Academy as an assistant to Thomas Anshutz. Garber became an important instructor at the Academy, where he taught for forty-one years.
Daniel Garber painted masterful landscapes depicting the Pennsylvania and New Jersey countryside surrounding New Hope. Unlike his contemporary, Edward Redfield, Garber painted with a delicate technique using a thin application of paint. His paintings are filled with color and light projecting a feeling of endless depth. Although Like Redfield, Garber painted large exhibition size canvases with the intent of winning medals, and was extremely successful doing so, he was also very adept at painting small gem like paintings. He was also a fine draftsman creating a relatively large body of works on paper, mostly in charcoal, and a rare few works in pastel. Another of Garber’s many talents was etching. He created a series of approximately fifty different scenes, most of which are run in editions of fifty or less etchings per plate.
Throughout his distinguished career, Daniel Garber was awarded some of the highest honors bestowed upon an American artist. Some of his accolades include the First Hallgarten Prize from the National Academy in 1909, the Bronze Medal at the International Exposition in Buenos Aires in 1910, the Walter Lippincott Prize from the Pennsylvania Academy and the Potter Gold Medal at the Art Institute of Chicago in 1911, the Second Clark Prize and the Silver Medal from the Corcoran Gallery of Art for “Wilderness” in 1912, the Gold Medal from the Panama-Pacific Exposition in San Francisco of 1915, the Second Altman Prize in1915, the Shaw prize in 1916, the First Altman Prize in 1917, the Edward Stotesbury Prize in1918, the Temple Gold Medal, in 1919, the First William A...
Category
1940s American Impressionist Landscape Prints
Materials
Etching
The Rialto
By James Abbott McNeill Whistler
Located in New York, NY
A superb, richly-inked impression of this etching and drypoint, printed in dark brownish black on antique cream laid paper. Second state (of 3). Edition of approximately 30. Signed w...
Category
Late 19th Century American Impressionist Landscape Prints
Materials
Drypoint, Etching